Lazaro Vega

UPCOMING MUSIC CONCERTS FLATLANDS COLLECTIVE with special guests WINDY & CARL Performing Saturday, December 10 8 PM The Urban Institute for Contemporary Arts 41 Sheldon Blvd. Grand Rapids, MI www.uica.org Flatlands Collective: Jorrit Dijkstra’s Flatlands Collective is a new project that brings some of Chicago’s hottest improvisers together with a remarkable alto saxophonist and composer from the lively Dutch improvisation scene. Dijkstra, Jeb Bishop and Kent Kessler had a successful musical encounter in Chicago’s Candlestick Maker in 2003, and found a common ground in a more international way of improvising, blending American and European improvisation traditions. Dijkstra met James Falzone in an ensemble he was coaching at the New England Conservatory in 1998, dedicated to the music of Dutch musical thinkers Misha Mengelberg and Guus Janssen. After projects in Paris, Vancouver, Edinburgh and Boston, the Chicago Collective is another example of Dijkstra’s interest in uniting musicians from different cities in the world, sharing similar improvisation ideas. Dijkstra says: ”I believe that the landscape in which you grow up has an effect on how your music sounds. This is what’s so interesting about jazz: musicians in New York, Barcelona, Moscow, Shanghai or Addis Abeba play this music, but there is always a distinctive local interpretation.” And he adds: “The first thing I noticed in Chicago is how flat it is. Whether this has an effect on the local musicians just as it had on me coming from the Netherlands, I’m researching with this project.” Jorrit Dijkstra writes most of the music, focusing on contrapuntal melodies, layered rhythms in multiple tempos and light electronic modifications. Plus of course lots of space for improvisation, sometimes in the form of little musical games or sets of cues. The Flatland Collective toured the Midwest in May 2004 and plans to do a second tour in the fall of 2005.

Man, there's no way I'd miss a Freddie Redd club hit right now. He hasn't toured to Chicago or Detroit in how many years? You guys are missing out on one of the great composer/pianists, and at 77 it's hard to say how many more of those club dates he'll have. AND, of course, the club needs to see people in the door. Don't let the tiny things in life keep you away from such an authentic jazz musician. And thanks for the note about his activity. Does he have an agent, or does he tour at all anymore (other than festivals)?

http://www.orlandosentinel.com/news/obitua...0,5545366.story

December 3, Saturday, 5:30 pm reception and dinner, 8:30 pm. concert. Association for the Advancement of Creative Musicians (AACM) 40th anniversary gala, "A Ruby Celebration: 40 Years of Great Black Music." Master pianist Muhal Richard Abrams, founding member and first president of AACM, along with Downbeat-named Rising Star, flutist Nichole Mitchell. Whole event $150, Concert only $25 gen, $10 students. 312 922-1900 or 313 649-9624 or tix.com. At IIT's Hermann Hall, 3241 S. Federal St., Chicago.

"She and He Is Who Fenn Love" and "Allotropes, Elements Different Forms Or Same" are two previously unrecorded Coleman numbers. Kuhn claims there are over 150 Ornette Coleman pieces now. The Cd is on ACT www.actmusic.com And www.joachimkuehn.com

THE NEW YORK TIMES -------------------------------------------------------------------------------- November 22, 2005 Jazz Review | Roswell Rudd A Little Nostalgia and a Lot of Unruly Trombone By NATE CHINEN The big, braying sound of Roswell Rudd's trombone has been a prominent feature of jazz's avant-garde landscape for more than 40 years. It still has a way of turning up in strange places: Mr. Rudd's latest album, "Blue Mongol" (Sunnyside), puts him in touch with Buryat throat singers from Mongolia. On Sunday afternoon at the Rubin Museum of Art in New York, he went for something more familiar - although, in a way, almost as uncommon. For a celebration of his 70th birthday, he reunited with Eli's Chosen Six, the Dixieland band from his student days at Yale. A boisterous bunch of white revivalists, Eli's Chosen Six had its hot minute in the mid-1950's, when "college jazz" suggested a catchphrase rather than a curriculum. With the help of the producer and Yale alumnus George Avakian, the band recorded an album for Columbia Records in 1955, and it appeared a few years later in the film "Jazz on a Summer's Day." (Mr. Rudd missed the shoot, which would have involved zipping around Newport, R.I., in a convertible jalopy.) In the years since, the group has performed sporadically - and almost always without Mr. Rudd, by far the most prominent musician to have emerged from its ranks. The reunion, and the occasion, put Mr. Rudd in a nostalgic frame of mind. He spent much of his two hours of stage time in free-associative reminiscence, praising his bandmates and working toward an oral history of the group. This included tributes to founding members who could not be there, like the accomplished bassist Buell Neidlinger, whose successor, Bob Morgan, acquitted himself with a Fender electric. Reaching back at one point to his childhood in Connecticut, Mr. Rudd invoked the memory of his father, an amateur drummer. "By the time I was 8 years old, Duke Ellington and Spike Jones were my main guys," he said. "Music was like a big cartoon." The same could almost be said of Eli's Chosen Six. The cornetist Lee Lorenz and clarinetist Leroy Sam Parkins joined Mr. Rudd in scrappy frontline counterpoint - a hallmark of both Dixieland and the 1960's avant-garde. One of the liveliest pieces, "Sheik of Araby," opened with Mr. Rudd's plunger-muted blare over the thumping toms of the drummer, Steve Little. Another tune, "Tishomingo Blues," elicited rambunctious and well-rounded improvisations from all the horns, plus a few keyboard choruses by Dick Voigt. Buoyancy and brightness were common undercurrents, bubbling to the surface during the better solo choruses, like most by the cool-headed Mr. Lorenz and nearly all by the extroverted Mr. Rudd. Of course, Mr. Rudd was the star. Filling the function of a tailgate trombonist, he leaned on what he has memorably termed his "mammalian vocabulary" - a trove of anthropomorphic smears, wobbles, buzzes and slurs - but never loosened his grip on harmony or rhythm. He was as galvanizing a presence as ever; at his best, he made the music sound as if it were still being discovered.

And: http://www.bostonphoenix.com/boston/music/...ts/02940583.htm

http://www.bostonphoenix.com/boston/music/...ts/05063481.asp

If there was a recording of Monk at age 16 playing "'Round Midnight" one could say it was as significant as the Dizzy Gillespie Quintet with Charlie Parker at Town Hall discovery. Without question the Bird and Diz IS the record of the year. And the Monk Quartet with Trane at Carnegie Hall is a close second. What a great year (for Beethoven, too).

Lester Bowie played several concerts and made one un-issued recording in the late 1990’s with Kahil El’Zabar’s Ritual Trio plus poetess Ntozake Shange. The evening of grooves, improvisation and poetry came to Grand Rapids, Michigan, in September 1998 and played the Urban Institute For Contemporary Arts. 200 attended. The artists drew upwards of 500 in Chicago and Philadelphia said El’Zabar. Prior to the concert in phone calls setting up the interview reprinted below, Bowie mentioned his family’s situation, the empty nest, and that he’d recently purchased acreage in Maryland to build a home and studio on, but with only one bedroom. I was like, with so much land, why not build a house with several bedrooms? “Because if I do then all my grand kids are going to want to stay there,” he said with a burst of laughter. At intermission of the Grand Rapids concert a listener mentioned that Bowie seemed to be using more circular breathing than usual. “In this music you use everything,” he said. Prior to this concert with percussionist Kahil El'Zabar, saxophonist/pianist Ari Brown, bassist Malachi Favors and poetess Ntozake Shange Bowie spoke from his home in Brooklyn with Blue Lake Public Radio's Lazaro Vega. September 11, 1998 Lazaro Vega: First, how many different bands are you currently involved with either as a leader or as a sideman? Lester Bowie: I'm only involved really right now with the Art Ensemble of Chicago and the Brass Fantasy. I do special projects such as the one we're doing with Ntozake. I'm working, also right now, with the Diane McIntyre dance ensemble. We're working on a dance project. But mostly it's just the Art Ensemble and Brass Fantasy now. That keeps me busy full time, sure does. Vega: I know for a while you had the New York Organ Ensemble and were pretty involved in The Leaders. Bowie: Yeah, right. Well it got to be too much. What happened, all the groups started getting popular and it got to be too much work to handle. Vega: So you've cut back to maintain your focus. How do you feel about the Art Ensemble being voted the Acoustic Jazz Group of the Year in the Downbeat Critics Poll? Bowie: It was a surprise. We were kind of surprised that it happened. Other than that, I think we must have won that before, probably twenty years ago or so. But it's always nice to win anything, I guess. But I mean it doesn't really mean anything special. It's almost like a meaningless award. Jazz groups have to make a living any way. You know when I was younger I used to look at Downbeat Magazine and I figured anybody in Downbeat must be making a living. But as I got more into it, I learned that wasn't always necessarily the case, especially in our case. Vega: Something along those lines that's kind of interesting: Now, today, when John Coltrane's records come out on Impulse! no matter if it's "A Love Supreme," or "Ballads" or the record with Johnny Hartman, or "Ascension," they sell 20,000 units. Bowie: A lot of jazz is like that; it sells over a period of time. They always say that jazz doesn't sell, but it's a lie, because it does sell, and it sells consistently year in and year out. For example, what you mentioned, the 'Trane records will continue to sell more and more as time goes by. So, they do sell quite a bit of records. What happens is these records are taken from the artist. I hope 'Trane's estate is getting the money. Because I know a lot of artists they re-issue and re-issue and the artist receives nothing. Vega: Especially over in Europe when the copyright laws run out sooner than they do in America. Since we've touched on it, how important is recording to you, and do you feel you should be on a major label such as Verve or Bluenote? Bowie: No, actually, we have a release coming out on Atlantic Records, the Art Ensemble has one (Coming Home Jamaica) and also the Brass Fantasy has one (The Odyssey of Funk and Popular Music). Vega: It's been a long time since you were on a major American label. Bowie: Yeah, right, but that doesn't really mean anything, either. You would think that anyone on a major label would be doing something, but when you speak of major label that means something to maybe a big pop star that might be getting some sort of benefit from the major. But we still don't get anything. Most of these labels they'll promote you for about a month, and then they'll just put it in the bin. And they keep selling it. They know that they can sell these copies 10 years from now, or 20 years. So there's no really big push to expand the audience. What I've been trying to do for years is to get the music played on a station other than jazz stations, you know, to expand the audience. Especially the work I've done with Brass Fantasy. We've done things by other sorts of artists. For instance, on this latest record we did Marilyn Manson, and we also did Puccini, we did Pavarotti's "Nessun Dorma”. I would like to hear the music played on the stations that play that sort of music. You know what I mean? If we play a Whitney Houston song I'd like to hear it on the same station that plays that sort of stuff. But the jazz thinking is such that (laughs), it is so limited that being with a major is even more frustrating than anything else. Vega: So, one way or the other, recording it is sort of just another part of your promotional kit. Bowie: That's exactly what it is. Right now what we're pushing for, actually, is to develop a really visible Internet presence. Because I believe that the future of the music lies in the Internet. It can be sold on the Internet. These record companies are going to be going out of business pretty soon, because people are just going to be downloading what they want to hear. And there are a lot of people interested in creative music, there are more and more and more. That's really going to grow. I mean, like you say, the Coltrane albums really sell a lot. They release one and it's at 20,000, it will be at 50,000 next year. Because people really got tired, too, of the same old formatted sort of thing, and the same old formatted music. They were missing all the enthusiasm, the creativity; that whole excitement about the music was lost. A lot of people are really going back looking for that. A lot of people knew from the beginning, people that supported us from the beginning. But a lot of people are looking back and taking another look and finding that there was something there. Because they got so bored with what's going on. And we need something. This is a different age. People have computers, they're multi-cultural, and they have many interests. They're not just interested in one sort of music any more. These people are interested in a wide variety of music, and that's what we're into. Vega: I think it's going to take awhile for the corporations, all six of the major entertainment giants, to catch up to what the people want. Bowie: Exactly, but what's going to happen is people are going to catch up themselves, because, like I say, we're going to make everything that we can do available on the internet, and the internet is sort of an equalizer. You can establish a presence on the internet; you can have just as much of a presence as a major company or anyone else. We're developing a Web Store right now. We have a new book that's coming out, and all this is in the last proof read right now, and will go to the printer's next week. And the Web Store will be open by December the first. The address is aeco.com. That's going to be a whole store. We're starting out printing up this coffee table size book, a glossy, really nice book about the whole story of the Art Ensemble, photos, interviews, a lot of things, a lot of information. It's going to be the first of our book publications. Along with caps, T-shirts, and develop a fan club, the whole scene. We're going to do it over the Internet. This is the first that will be actually our own web site and store. That's going to be nice. We're going to release CD's we made years ago just for collectors, things that haven't been readily available. We're going to make all that stuff available. Vega: Can we talk about music as music? The Art Ensemble, to me the "ensemble" word is key there because its ensemble music at it's most fluid, and I was wondering if you could comment on the musical process of ensemble playing with that group? Bowie: Well the Art Ensemble is exactly what it says; we're the Art Ensemble. We're really trying to develop music that can help stimulate intellectual thought. We think the answer to the problems of society lie in being able to raise the intellectual level. So the music is intended to do that first of all. It's intended to sort of kick-start the creative process. The music we play is kind of hard to explain. It's music that we really feel. It's like we take all sorts of elements, all sort of different reference points, and we have the freedom to be able to reference anything at any time. And at the same time to be able to listen and to be able to instantly create a situation. Many times you never know what's going to happen. You'll play songs that you never thought you were going to play. You play ensemble things that you had no idea you were going to play two minutes before. It's just about really being sensitive, and trying to play a music that is about music. It's about emotion, it's about traveling through these different emotions, and it’s about showing the listener all these pictures. We expect the listener to have, like, a movie going on when they hear us. That's what it's all about for us. It's about being in tune with what music is -- without limitation of what is or what isn't, without necessarily regarding a certain rule. We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound. The way we look at it, everything is a sound. A chord is just the name of a sound. They say C is a pitch; it's the name of a sound. So is a cat's meow a sound, so is a motorcycle, so is anything. There are a lot of sounds. We try to incorporate any sounds into the music. Sounds of life. Sounds of everyday, and incorporate that as part of the music. It's just like an endless research into the music that the deeper you get into it, the deeper you get into it. And all of it you can't explain yourself, it's something you have to really do. Vega: That's why I like listening to you because it's what jazz is supposed to be, it's carefully considered listening, but at the same time spontaneous and freewheeling. Bowie: That's what I always thought it was supposed to be, like you say. These are the elements that really constitute the music. We have to understand that this is a very young music. We're just beginning to really develop this music. This is not a time to put in any narrow definitions or parameters on what this music is because we're only at the beginning of the possibilities of this music. We're just beginning to learn the importance of music in our society. What we as musicians and artists have to offer to the intellectual development of the people that live here. Music is very important. It's important as a tool for learning, it can be a tool for healing, it can be no telling what, as long as we remain free to be able to create the music, to be able to experiment and to really research, and to really get time to develop the music. Vega: In terms of Kahil El’Zabar’s Rituals Trio, I think you were one of the original voices in the band, in 1985? Bowie: Yeah, I think so. Vega: So, in terms of that group, where do you feel it's going? Bowie: This is a whole different direction with the spoken word. We've been involved with a lot of different projects. I really wish sometimes that people in this country could really see some of the projects that we've been involved with: symphony orchestras, bands of African drummers, blues musicians. During the Olympics at Lillahammer, the 1994 Winter Olympics, the Brass Fantasy played with a Norwegian Brass group, part of my Organ Group and a 65 voice Norwegian choir. There are so many things that have been done that people aren't really familiar with. This voice thing is one of those sorts of projects. Like I told you before I get involved with special projects, and Ntozake has been involved with us for quite a few years, we did things twenty or thirty years ago on the West Coast, and up and down the East Coast seaboard. So we've had a long history of working together. She's of the spoken word of the same generation we're of (music). Vega: How does that pan out in concert? For instance, are you playing Kahil El'Zabar's music and then she's integrating with it? Bowie: We're doing some of Kahil's music, but we have some things that we do. We just finished a recording. We have some pieces that she had that we put the music to. It's really nice. Vega: With that element of spoken word, is that another element in ensemble music, or are you dealing more with regular song form and keys? Bowie: No, no,no,no,no -- this is right in the same bag. I would say you have the same basic idea in the music, this sort of creative development of the music, but adding the spoken word as another instrument, you know what I mean? It would be the same if it were a saxophone or trombone. Ntozake is another instrument. There are pieces of hers that we've set to music. It's really interesting. You have to hear it to understand it. There's really no way I could explain it except that you know my reputation, the people that are involved, and you know Ntozake’s reputation and quite a few people are familiar with her work. So we kind of pull with two different directions. We really have quite a mixed crowd. Vega: In your early training in the circus and in Jerry Butler's R&B bands, I was wondering how that upbringing impacts your music today? Bowie: Well, actually, my roots are that. I mean I'm just an advanced R&B cat as it is. That's all I am, basically, is like an advanced rhythm and blues cat. (Laughs). Vega: Real advanced! Bowie: (Still laughing) Yeah. But, I mean, my whole foundation was in that because I began playing professionally at a young age and did a lot of shows. It's really helped me in later years; it really helped my approach in terms of developing. That's one of the things I bring to the Art Ensemble, a lot of experience I had playing shows. So we were able to organize the music in a way that it could be acceptable as a show also. We had to work at it. We had to go into certain ways or methods of dealing with various types of audiences. Initially we began to do a lot of festivals. And festivals require really some planning For instance one of the records we made, "Baptism," was done right there in Michigan at the Ann Arbor Jazz Festival, that's on Atlantic Records and that's being re-released here soon, also. Any, anyway, that's what I mean about my showbiz-ness background. Vega: Do you see yourself as part of the St. Louis trumpet school with Shorty Baker, Clark Terry, and Miles Davis? Bowie: Yeah, well I guess I am. I'm from St. Louis... Vega: and you play the trumpet! Bowie...And I play trumpet. Those guys were inspirations to me and other guys that were not as well known. There was a guy named Bobby Dansy who was a friend of Miles who was one of the trumpet players around St. Louis who was very influential to me. But in St. Louis you come up, you know Clark Terry, you hear all his music, and you know all of Miles songs. You had to know all of Miles's tunes even to gig you know what I mean? I had to know all of his songs to even have a jazz gig. So I guess I'm part of that St. Louis tradition. Vega: During that time a jazz musician could put their children through college by playing their horn. There was work. There were the territory bands. Here in Grand Rapids we had a show drummer named Benny Carew who led a group that toured and at one time featured Hank Jones or Wardell Gray. People could work. And the rhythm and blues bands that you were in, it gave people an economic opportunity as well as a musical one, and that stuff is just gone now. Bowie: Yeah, that is really gone. Like you say, there was a time when you could work. I always tell my students when you're going to be a jazz musician the first thing you've got to do is be a professional musician, and that means you have to feed yourself with the instrument. That means you've got to work. But like you say the opportunities for work now are really diminished. When I came along everybody had a big band. B.B. King had a big band. He's got a stripped down band now, but I mean he had an actual big band -- three trumpets, a couple of trombones. Bobby Bland had a big band. Everybody had a big band. Vega: Albert King. Bowie: Albert King. Everybody had a band. All the traveling shows had big bands. When I did a lot of work with these traveling shows that were put together for the Temptations and Redd Fox and all these different various acts there was always a big band with that. There's no opportunity now for this to happen. Which is, I guess, a reason for the stagnation of the music, I don't know. Vega: Because of economics. Bowie: Well you know musicians have to make their own economics. I've got six kids. I've got one more to get through school. I've got one that's getting a Ph.D. at the University of Chicago right now. You have to work, and you have to make work if it's not available. And you have to travel. What musicians have to do now is be world travelers. Because there is work in Costa Rica, or Shanghai, all you have to do is get there and go out. There's no such thing as not having a band. As an American Jazz Band you can go anywhere in the world and get work. But what you have is most people are afraid to make that commitment now. Unless that commitment is made it's the only way you can develop and audience, it's the only way you can get work to keep a band working. You have to travel and you have to make your own work. Like you say, you don't have that opportunity, now. Vega: The chitlin circuit is gone; all those big bands are gone. Bowie: All the cats were in those bands, man. I played in a trumpet section with Kenny Dorham and Blue Mitchell. I mean all the bad cats were doing these shows. You know what I'm saying? We were doing the Apollo, and the Royal Theater, the Riviera in Detroit, the Regal. There was a whole scene happening. And not just those theaters but there were dances and concerts going on all over the country all the time. We were always working. Vega: That must have been a great time. Bowie: I'm glad I caught the tail end of that. It was really fortunate to get that. And now is a different thing, there are different rules. We just can't go and try to turn the clock back, that's not happening anymore. You've got to figure something else out. Vega: Yes: hustle to survive. Bowie: That's right. Vega: So are you headed out with the Art Ensemble next? Bowie: Actually, I'm on sort of semi-vacation right now because we've been touring since March. Vega: I understand you did the West Coast tour with just Roscoe, yourself and Don Moye. Vega: Right, because Malachi was sick. Vega: Malachi had his pace maker put in, right? Bowie: Right. He's doing O.K. now. He's doing great. Vega: will he make the gig in Grand Rapids? Bowie: Yes, that's going to be his first one, I believe. Then we start touring. After that we go from there to Europe, and a European tour. Vega: with Rituals? Bowie: No, no. Rituals goes and does a gig in Europe, but then that's it for Ritual. Then the Art Ensemble begins its tour. Vega: Louis Armstrong was a lead player, the trumpet in the New Orleans band was the lead instrument, and it played the melody. In the Art Ensemble do you see yourself in that role at all? Most of the roles in that group are different, you've redefined roles, but do you think the trumpet is a lead instrument in that group? Bowie: Oh yeah, the trumpet is a leading instrument in a lot of things. The trumpet is forceful. That's all I play is the trumpet whereas the rest of the guys are more multi-instrumentalists, playing all kinds of other stuff. You could say that, the trumpet is a lead instrument. In our situation it's not always that the trumpet is playing the lead at any particular time. We maybe playing something but the bass is actually lead and the trumpet and the saxophone are just comping. Or it could be a drum lead, or whatever. Vega: I did an hour long radio show on you the other night and featured the second side of your "One and Only" solo trumpet from the album "All the Magic." The first piece on the second side, "Down Home" is like a study in the low register of the trumpet, pedal tones. And I was absolutely amazed, because I've got a cornet and I mess around with it. I know a few things about playing a pedal tone where you drop the jaw, let the tongue settle down and blow a lot of air. But you were playing melodies in the pedals, and that just blew me away. To be able to get into that low thing usually the most I can do is make a blat. Or make a low note and it will have a ten second duration at the most. But to be able to move it in contour to a melody just blew me away man. Bowie: (Laughing). Like I said, pedals, they're notes, they're just other sounds. You have to learn how to use 'em. You have to just practice them; you have to practice them a lot. You can't wish you could do it and then do it. It's like you've got to practice them and get the breathing and get them to where you project and where you control it, control the pitch. It just takes work, that's all. Vega: Wow, it'd take a lot of work. Bowie: Yeah, a lot of work! A lot. Vega: The contemporary trumpet tradition to me is Don Cherry, you and Leo Smith. And Leo is really doing some wild things on the trumpet right now. Bowie: I haven't heard Leo for a while; I'll have to check him out. Leo's good. I remember when Leo first came to the A.A.C.M. Straight up from Mississippi, a little country boy and stuff (laughs). But I mean he really developed nicely. He's just got his thing happening, but it's been developing for a long time. Lazaro Vega is jazz director at Blue Lake Public Radio, www.bluelake.org. (End)

We'll be wishing Mr. Grimes a Happy Birthday tonight on Blue Lake Public Radio, with the web stream kicking back in at 11:30 p.m. est, and our special live broadcast with Mr. Grimes and Marshall Allen from earlier this year repeated tonight at midnight. www.bluelake.org (With regards to Night Lights).

Will be playing some of his music from Henderson's two recent Arbors releases tonight. While reading that Gil Evans biography published a couple years ago Skitch kept coming into the picture out there in California. That was insightful. Whatever you want to say about "businessman's bounce" there's something to be said for a generous musician as businessman, which Henderson was according to that Evans book. I don't know. Maybe I'm remembering wrong. But it seemed Henderson gave Evans employment. Gil grew to another level musically, no doubt, more personal than the commercial music world of Henderson, but Skitch helped Evans develop that through post-hole digging arrangement duties and the grind of rehearsing a working band, of being a music director, AND during an economically fragile time in Evans career, which about describes Evan' s entire musical life, doesn't it? It's been years, though....anyone on that connection?

Dear friends, colleagues and partners, i am back with informations about my work. For different reasons i got bored to send emails. sorry for that.... I am doing well and working hard, as usual. I want to inform you about my concert tour in october/november/december. If you are bored with my emails, please reply “unsubscribe”. yours, Franz _________________________________________________________________ USA *October 30th Sound Field Festival 2005 Chicago Cultural Center (6:00 PM) "Count the Stars/Neglected Rooms" a music and video composition by Vienna based composers Werner Dafeldecker and Burkhard Stangl, with video by Didi Bruckmeyer. The program also features improvisations by The Helsinki Trio (W. Dafeldecker (bass), B. Stangl (e-guitar), Franz Hautzinger (trumpet), with Didi Bruckmeyer (voice) Claudia Cassidy Theater Chicago Cultural Center 78 East Washington __________________________________________________________________ *October 31st Philadelphia at 8:00 PM Burkhard Stangl (e-guitar) Franz Hautzinger (quarter tone trumpet) Werner Dafeldecker (bass) Didi Bruckmeyer (voice) Slought Foundation 4017 Walnut St. Philadelphia, http://slought.org/ __________________________________________________________________________ GERMANY *November 3rd, Musikzone Festival, Volksbühne Berlin, großes Haus 21:30h Zeitkratzer & Keiji Haino www.volksbuehne-berlin.de Www.zeitkratzer.de __________________________________________________________________________ SLOVAKIA *November 5th, Festival in Kosice , Theatre Thalia, Mojmirowa 3 at 22.00h JACEK KOCHAN PAANSORI PROJECT Franz Hautzinger - quarter tone trumpet, Henryk Gembalski - violin Dominik Wania - Fender Rhodes and North Lead Jacek Kochan - drums, laptop, live electronics ___________________________________________________________________________ POLAND *November 6th, Audio Art Festival 2005 , Krakow, Bunkier Sztuki Franz Hautzinger - quarter tone trumpet, Jacek Kochan - drums, laptop, live electronics ___________________________________________________________________ AUSTRIA *November 11th, Vienna, Viveka Schikanedergasse 1, 20:ooh Ausstellung Erich Novosel, Malerei u. Zeichnungen F.H. Solo Trumpet ____________________________________________________________________________ *November 12th + 13th Vienna, dieTheater im Künstlerhaus, 20.00h Wien Modern festival with ensemble on_line vienna www.wienmodern.at www.eolv.at ______________________________________________________________________________________ BELGIUM *November 16th, novembermusic Gent, Kunstencentrum Vooruit, 21:00h zeitkratzer performs compositions by: Rudy Trouvé (B) Reinhold Friedl (D) Carsten Nicolai (D) Marko Ciciliani (NL) http://www.novembermusic.net/ ___________________________________________________________________ HOLLAND *November 17th, novembermusic, 's-Hertogenbosch, Toonzaal, 20:00h zeitkratzer performs compositions by: Rudy Trouvé (B) Reinhold Friedl (D) Carsten Nicolai (D) Marko Ciciliani (NL) http://www.novembermusic.net ____________________________________________________________________ *November 18th , Theater Kikker, Utrecht, 20:30h zeitkratzer performs compositions by: John Cage: Hymkus Reinhold Friedl: no:no Carsten Nicolai: synchron bitwave Marko Ciciliani: space melange http://www.theaterkikker.nl/ <http://www.theaterkikker.nl/> ____________________________________________________________________ GERMANY *November 19th, festival open systems, Essen,Philharmonie | RWE Pavillon, 20:30 zeitkratzer performs compositions by: Arto Lindsay (USA) with Arto Lindsay Reinhold Friedl (D) Marko Ciciliani (NL) http://www.festival-open-systems.de ZEITKRATZER: Reinhold Friedl (Berlin) piano/artistic director Burkhard Schlothauer (Berlin) violin Anton Lukoszevieze (London) cello Uli Phillipp (Wiesbaden) contrabass Franz Hautzinger (Vienna) trumpet Frank Gratkowski (Cologne) clarinets Benjamin Weidekam (Berlin) clarinets Marc Weiser [rechenzentrum] (Berlin) electronics Maurice de Martin (Berlin) percussion Ralf Meinz (Stuttgart) sound Andreas Harder (Berlin) light ______________________________________________________________________________ AUSTRIA *November 23th, Porgy & Bess, Riemergasse 11, 20:oo Jazz Session Kelomat + F.H. www.porgy.at ____________________________________________________________________ *November 24th, IG Jazz Clubfestival,Miles Smiles, Lange Gasse, Vienna, 20:ooh Trumpet solo concert. Double concert with Christoph Wundrak trumpet solo. ____________________________________________________________________ *December 1st, Graz,7.Medien und Architektur Biennale, Opening Festival,19:00h “Gomberg for quartertone trumpet solo” ARTIMAGE Hallerschlossstrasse 21, A - 8010 Graz, Austria http://www.artimage.at ____________________________________________________________________ *December 2nd, Vienna, University Vienna, Rennweg 8, institut für Rhythmik,18:oo John Sass, tuba Harald Huber, keyboards Franz Hautzinger, trumpet DANCERS of the Rhythmik Department ____________________________________________________________________ *December 4th, Vienna, Neue Musik in St. Ruprecht, 20:00h "duo hoch zwei" Axel Dörner - Trumpet Katharina Klement - Clavichord, Electronic Manon Liu Winter - Clavichord Franz Hautzinger - Trumpet Ruprechtskirche, Ruprechtsplatz 1, 1010 Wien ____________________________________________________________________ HUNGARY *December 7th, Budapest, Intro Festival - Contemporary Art Clamp, Budapest,20:00h Abstract Monarchy Trio performance -- CD presentation at Millenaris Park, Salon (Budapest, II. district, Feny utca 20-22.) Zsolt Söres, el. Viola, el.devices Zsolt Kovacs, el. Guitar Franz Hautzinger, pocket trumpet _____________________________________________________________________ * December 8th, vienna......Sleeping, eating, relaxing at my home, 24:oo hours............

Randy Weston's Hi Fly with Hawk and Kenny Dorham. Then Ellington's "Sepia Panorama" followed by Weston's version. Coming up in a few minutes over the Blue Lake web stream. After that.....Bird and Diz at Town Hall....

The idea that Grimes would appear with Jack Mac implies Jackie Mac's own band takes a back seat. I remember Nessa saying when they wanted Art Blakey as a single or guest with another orchestra for the Chicago Jazz Festival the Jazz Institute still had to pay the full fee for the Jazz Messengers. If Jackie were more a freelancer the idea of Grimes playing with him would seem tenable. So the band comes first. So it would seem more likely, with William Parker's Feel Trio association with Taylor and Parker's advocacy of Grimes, that a re-union with Taylor could happen (a two bass band). I bet Lucille Rollins fielded all kinds of jazz festival ideas for Sonny Rollins over the years, but, again, how often did he appear in special circumstances and how often with his own group of people? The Hill Auditorium concert program read Sonny Rollins is playing around 25 times a year. Maybe one of those could be a trio with Grimes and Al Foster (?, who? DeJohnette?). Rollins had Bobby Broom and Clifton Anderson each playing two choruses on ballads at Hill Auditorium. That took a while. Does anyone know the last time he played in the trio setting? You have to know someone's asked, "I've transcribed Oliver Nelson's music for "Alfie," and wondered if our band could have the honor of accompaning you playing that again?" The place for this kind of programming --The Jackie McLean/Andrew Hill Band with Henry Grimes; Grimes and Sonny; Grimes and Parker with Taylor and Tony Oxley, all on the same festival over the course of a weekend -- is (was) the Chicago Jazz Festival. Only better than what I just described. They'd manage to get 'Alfie' in, too, with a killer band of pros.

Henry mentioned in an interview with us, during that live on air performance with Marshall Allen, that he only wants to play free music now. I disagree about the Henry Grimes comeback scene being, whatever the implication, all about hype and not about music (you didn't say that, but that's generally the sentiment). He's a real guy. Just ask Fred Anderson. When Grimes went to the Velvet Lounge to "sit in" he never left the bandstand: played with everyone for going on 4 hours. Never let up. And it is not so much the total hours logged as much as it is this flow of original ideas. When he came into the station to set-up he started playing about 8:30 p.m. and didn't stop until after the live broadcast ended at 11 p.m. He's always had an incredible sound which might be something to ask him about: why he chose the route to the sound he had (and is redeveloping) rather than going with the prevelent tendancy to play high on the fret board through an amp. Because Grimes is so active now it might be a good idea to focus on what's happening now rather than the "silent period." He gets asked about that all the time. By the way, over at Sonny Rollins web site I see they will be including an interview with Grimes about his time with Sonny Rollins in the "reflections" section. Yes, it would be GREAT if Rollins and Grimes reunited. Would love to hear Sonny playing with an upright bassist again, if only for one night, though I don't know that Grimes is up on tunes right now. Henry Grimes fits in the great tradition of Jimmy Garrison, Malachi Favors, Fred Hopkins, even Alan Silva. I wonder what insights he has into those players, how would he express those insights in words.... And I think Chuck is right...back o'Rudy's....session was made there, sooo.....

Mike mentioned the Au Bar performances included in the "best of" collection which was recently issued and there's a real "Ella In Berlin" kind of moment during "I Didn't Know What Time It Was" where Shirley, bless her heart, just gets lost, forgets. The audience gives it up despite her lapse and you can tell she's moved, saying something like, "Oh, you're sweet." Here's a quote from a Washington Post article: But she also seemed frustrated, reduced to performing only a concert or two a month, backed by pianist George Mesterhazy. "I can't get into the music," she said. "I just get lost." That might be one reason why Verve chose only to issue a handful of cuts. Here are links to a couple of items that appear in the 10/22/05 Washington Post: _________________________ The Innate Tempo Of Shirley Horn By Richard Harrington Washington Post Staff Writer Saturday, October 22, 2005; Page C01 http://www.washingtonpost.com/wp-dyn/conte...5102102057.html ___________________________ Shirley Horn, 1934-2005 Mesmerizing Jazz Singer and Pianist By Adam Bernstein Washington Post Staff Writer Saturday, October 22, 2005; Page A01 http://www.washingtonpost.com/wp-dyn/conte...5102101624.html http://www.washingtonpost.com/wp-dyn/conte...02101624_2.html http://www.washingtonpost.com/wp-dyn/conte...02101624_3.html

If there's any chance we've picked up a few internet listeners by posting here, thought you'd like to know that the Thelonious Monk Quartet with John Coltrane will be our special CD premium from 7 a.m. to noon this Saturday, October 22nd; and that during the funder week ahead, from 10 p.m. to midnight Monday through Friday, we'll be offering the Bird and Diz at Town Hall Cd on Uptown as a special premium. www.bluelake.org or 1-800-889-9258 (Organissimo is also offering a signed copy of "This is the Place" for a pledge of $65. Any takers?).

Henry Grimes Trio featuring Andrew Lamb and Newman Taylor Baker designated "Best Jazz Trio of the Year" by "NYPress" in its "Best of Manhattan" issue, 2OO4! "Henry Grimes plays the bass with absolute control, spinning tales without words, enriching the room with the depth of his bass. Newman Taylor Baker can capture any rhythm and will surprise you two or three times each show with how far he can take percussion. And Andrew Lamb works his saxophone and flute, paying close attention to the silence between the sounds, layering. When you see this trio listed ... stop what you're doing." ~ Steven Psyllos, Editor, NYPress Stop what you're doing! Sat, Oct. 22, 'O5: Henry Grimes Trio w/ Andrew Lamb & Newman Taylor Baker, Edgefest, Kerrytown Concert House, 415 North 4th Ave., Ann Arbor, Michigan, Henry Grimes master class at 5, trio concert at 8, 734-769-2999, KCH@Kerrytown.com, http://kerrytownconcerthouse.com/calendar/...=10%2F25%2F2005, http://kerrytownconcerthouse.com/calendar/...79&d=10/25/2005 . Sun, Oct. 23: Henry Grimes Trio w/ Andrew Lamb & Newman Taylor Baker, HotHouse, 31 East Balbo Ave., Chicago, 7 & 9:3O p.m., 312-362-97O7, www.hothouse.net. Tues., Oct. 25: Henry Grimes Trio w/ Andrew Lamb & Avreeayl Ra*, Grinnell College, Grinnell, Iowa, 641-269-494O, www.grinnell.edu. Fri., Oct. 28: Henry Grimes Trio w/ Andrew Lamb & Avreeayl Ra* (IsWhat? duo opening), Madame Walker Theatre, 617 Indiana Ave., Indianapolis, Indiana, 8 p.m., 317-236-2O99, www.mythopeic.org, www.madamcjwalker.com... Missing from the music world since the late '6O's, master bassist HENRY GRIMES has made an unprecedented comeback after receiving the gift of a bass (a green one called Olive Oil!) from fellow bassist William Parker in December, 'O2 to replace the instrument Henry was forced to give up some 3O years earlier. Henry was born in Philadelphia in 1935 and was required to master five instruments in order to graduate from Mastbaum Technical High School; after continuing his education at Juilliard, he played brilliantly on some 5O albums between the mid-'5O's and the mid-'6O's with an enormous range of musicians, including Albert Ayler, Don Cherry, Benny Goodman, Coleman Hawkins, Roy Haynes, Lee Konitz, Steve Lacy, Charles Mingus (yes, Charles Mingus), Gerry Mulligan, Sunny Murray, Perry Robinson, Sonny Rollins, Roswell Rudd, Pharoah Sanders, Archie Shepp, Cecil Taylor, Charles Tyler, McCoy Tyner, Rev. Frank Wright, and many more. In 1968 Henry took his bass and drove to San Francisco with drummer Clarence Becton to work with Jon Hendricks, Al Jarreau, and others; when these dates were over, and not finding enough work in San Francisco to survive, Henry took his bass (by then in serious disrepair) to Los Angeles and then to a repair man, who gave him a high price for the necessary work, and since Henry was unable to pay, the repairman gave him a small sum for the bass instead, Henry apparently believing he'd be able to get it back after a while. Sadly, this turned out not to be the case. Many years passed with nothing heard from him, as he lived in a single-room occupancy hotel in downtown Los Angeles and sustained himself with survival work not related to music (construction, maintenance, janitorial, etc.), writing many handwritten books of poetry, philosophy, and metaphysics, and studying yoga. Yet after only a few weeks with his new bass from William Parker, Henry Grimes emerged from his tiny room in early 2OO3 to begin playing concerts again. Soon after, he moved back to New York City, and in many venues around New York and on tour in the U.S., Canada, and throughout Western Europe, working almost exclusively as a leader, he has been making music with Marshall Allen, Fred Anderson, Roy Campbell, Jr., Marilyn Crispell, Andrew Cyrille, Bill Dixon, Dave Douglas, Hamid Drake, Charles Gayle, Edward "Kidd" Jordan, Andrew Lamb, Joe Lovano, Sabir Mateen, Bennie Maupin, Jemeel Moondoc, David Murray, William Parker, Marc Ribot, and many more. To the astonishment and joy of all, Henry Grimes is playing at the very height of his artistic powers (or indeed anyone's), just as though he had never stopped at all! He's taught workshops and master classes at City College of New York and JazzInstitut Darmstadt; he was named "Musician of the Year" by "All About Jazz / New York" at the end of 'O3; he received prestigious Meet the Composer awards in 'O3 and 'O5; he has been twice nominated for an "L.A. Weekly" Best Jazz Artist Award ('O3 & 'O4); and he was recently featured in "Downbeat" (July, 'O5), "JazzTimes" (August, 'O5), and "Time Out New York" (September, 'O5). For further information: www.HenryGrimes.com, MusicMargaret@earthlink.net. ANDREW LAMB (saxophones, flutes) was born in Clinton, North Carolina and grew up in Chicago and in South Jamaica, Queens. Having studied with AACM charter member Kalaparush Maurice McIntyre, Mr. Lamb came into the City's "avant-garde" community in the '7Os, becoming an active presence in the vibrant Bedford-Stuyvesant arts world at that time, and winning a Brooklyn Arts Council grant. In 1994, he got the chance to lead a session for Delmark; he composed all the pieces on "Portrait in the Mist," which featured a backing unit of vibraphonist Warren Smith, bassist Wilber Morris, and drummer Andrei Strobert. Andrew Lamb has since recorded duets with Warren Smith ("Duet," WISland, '99) and "Dance of the Prophet," made a trio recording with Eugene Cooper and Andrei Strobert (Kiki Records), and in 2OO3 released "Pilgrimage" on CIMP with Tom Abbs and Andrei Strobert; his latest release, with his group The Moving Form, is "Year of the Endless Moment" (Engine Studios). Andrew Lamb and his ensembles remain a regular presence in the New York area and have frequently played in the annual Vision Festival, which began in 1996. In 2OO1, Andrew took part in Alan Silva's big-band project called the Sound Visions Orchestra; the following year he toured with AACM-affiliated drummer Alvin Fielder. This year, Andrew has played in Henry Grimes's trio with Newman Taylor Baker in Berlin and in the Henry Grimes Quartet with Marshall Allen and Hamid Drake in the 1Oth annual Vision Festival. Always, Andrew Lamb's music rises out of the African-American jazz, blues and church traditions and is deeply spiritual, profoundly emotional, and readily accessible to all who hear him. Wrote Steven Loewy for "All Music Guide," Andrew Lamb is "a serious musician seeking to uplift his soul through art, and, like John Coltrane and his progeny, Lamb's vehicle is the psalm-like expression of his tenor saxophone. The results reflect his quest, testifying to his musical abilities, enormous potential, and depth of character." Further information: theblacklamb@netzero.net, www.allaboutjazz.com/php/musician.php?id=2660. Virginia native NEWMAN TAYLOR BAKER (playing drums Oct. 22nd and 23rd), termed a "ceaselessly resourceful percussionist" by "Village Voice" writer Nat Hentoff, has long worked to bridge traditional African talking drum and Western European tympani, creating a diatonically tuned enhanced drum set that allows him to develop original compositions in a broad range of musical expressions. As a young man he studied composition and percussion, receiving a B.S. degree in Music Education from Virginia State U. and an M.M. from East Carolina U. Newman has played and toured in over 4O countries worldwide with Billy Bang, Kenny Barron, Bobby Bradford, Henry Grimes, Billy Harper, Eddie Henderson, Joe Henderson, Fred Hopkins and Diedre Murray, Ahmad Jamal, Leroy Jenkins, Jeanne Lee, James Moody, Dewey Redman, Sam Rivers, Henry Threadgill, McCoy Tyner, Reggie Workman, the Delaware and Richmond Symphonies, and more. Meanwhile, Newman is also a dedicated educator of long standing, noted for his work with the Avodah Dance Ensemble's Education Programs and with Mickey D. and Friends Dance Company. Other projects include Celebration of the Drum Set: Give the Drummer Some (Warwick, NY Summer Arts Festival), the Congolese Missa Luba (St. Andrew and Matthew Church, Wilmington, DE), The 3 Willies (music by Leroy Jenkins, libretto by Homer Jackson), Dialogue for 2OOO: A Duet for Drum Set (Whitney Museum of American Art), the Obie award-winning Running Man (music by Diedre Murray, text by Cornelius Eady), and Walcott Songs (music by Henry Threadgill, text by Derek Walcott). Newman is the recipient of a New York Foundation for the Arts Fellowship in composition for his project Singin' Drums. He teaches privately, is a lecturer at Rutgers U. in Newark, works with Young Audiences / New York, Arts Horizons, Arts Genesis, Friends of the Arts, and Jazzmobile, and serves on the Board of the Williamsburgh Music Center. About Newman's playing, Rich Scheinin advises in his liner notes for Billy Harper's recording "If Our Hearts Could Only See" (DIW), "Listen to the sparks, the effortless swing. With a single ping on a cymbal, he moves the music into a groove that's wide enough for a listener to lie down inside it." Further information: ntbsd@hotmail.com . Chicago master drummer / percussionist *AVREEAYL RA (playing drums Oct. 25th and 28th) was born in Chicago in 1947 and still lives there today. He is a renowned musician always in demand by visiting jazz artists in Chicago. Avreeayl's father, a tenor saxophonist, was mentor to many young Chicago musicians, including John Gilmore, later the mainstay of Sun Ra's Arkestra; Avreeayl's father played in one of Sun Ra's early Chicago bands, and Sun Ra played in one of his groups as well. Avreeayl is a long-term member of the Chicago AACM, his relationship with the seminal music organization having begun with early studies with AACM co-founder Kelan Philip Cohran. Avreeayl has performed and /or recorded with Fred Anderson, Amiri Baraka, Fontella Bass, Lester Bowie, Ari Brown, Oscar Brown, Jr., Henry Butler, Henry Byrd ("Professor Longhair"), Hamid Drake, Malachi Favors, Donald Raphael Garrett, Charles Gayle, Henry Grimes, Billy Harper, Joseph Jarman, Edward "Kidd" Jordan, Nicole Mitchell, Sun Ra, Pharoah Sanders, Malachi Thompson, and many more. The venerable "Chicago Tribune" music critic Howard Reich wrote recently, "An indispensable Chicago innovator, Avreeayl Ra shapes the music-making swirling around him with remarkable precision and poise... extraordinarily sensitive percussion." John Kelman of IndieJazz.com has described Avreeayl's playing as "part Tony Williams, part Elvin Jones, and all Avreeayl Ra." And John Litweiler in "The Chicago Sun-Times": "He supplies ingenious sound colors and textures." Avreeayl considers himself greatly blessed to have come up in the richly progressive Chicago "avant-garde" jazz community. Though he has lived briefly in New Orleans and New York and has toured widely in the U.S., Canada, Europe, the Far East, and Africa, he has always returned home to live in Chicago. Besides playing and recording music, these days Avreeayl devotes much of his time and phenomenal energy to documenting on film the hidden roots of Chicago music, focusing on the Congo Beach Initiative (which was inspired by Congo Beach in New Orleans), a drum- and spirit-centered society in which Chicago musicians, dancers, and artists of all descriptions, young and elders alike, have congregated for many years at 63rd Street and Lakefront, playing music and practicing their spiritual and healing arts throughout the night, while developing an undying, evolving, spontaneous, organic communal life based in the rhythms, sounds, images, and spirituality of the African-American soul. Avreeayl is also documenting the Chicago jazz community, in particular life stories of the elders in the music. And another project is the study and documentation of modalities for healing and spiritual balance both inside and outside the music. Further information: www.allaboutjazz.com/php/musician.php?id=2652, liberationmusic@hotmail.com . << >> << >> << >> << >> << >> P.S. from Vision Festival producer Patricia Nicholson Parker: "Henry Grimes is a very special gift to this scene. He plays with so much dedication and gentleness in his music. The group with Andrew Lamb and Newman Taylor-Baker under Henry's leadership is filled with freedom and zest and enthusiasm and great music. You really can hear the special voice of each musician. They give each other all the space and yet all the fullness of sound. It is wonderful to hear." << > >< >< >< > <> <> > > < > > < > For bookings, interviews, press seats, high-resolution photos, & further information: Margaret Davis Henry Grimes's partner (and manager), www.HenryGrimes.com, musicmargaret@earthlink.net, Voicemail 212-841-O899. NOTE: No recording or filming is allowed at any Henry Grimes concert without written permission in advance. Photos are permitted if taken discreetly without disturbing the audience (no flash during the music), and we appreciate receiving JPEG copies or prints.

Listening to "Free Jazz" right now and Hubbard and Cherry sound completely different than Lester Bowie in this setting, but the trumpets fit in fine with Ornette's classic.

They are the Melody makers.

Anthony Braxton Sextet Saturday, November 5, 7:30 pm and 10 pm Creative Music Alliance at the ICA This is the first Boston appearance by composer-improviser Anthony Braxton in more than 10 years. One of the key figures in American music of the past 35 years, Braxton leads a young sextet in the latest phase of his ongoing compositional explorations. Two shows. Admission for the Braxton Sextet concerts is $15. --- http://www.icaboston.org/Home/Events/ConcertSchedule Best regards Franz Fuchs

Attendance at Sonny Rollins Hill Auditorium concert as reported by Mark Jacobson, Programming Manager, University Musical Society, Ann Arbor, “Right around 3450 or so.... That's about 1000 more people than a Carnegie Hall sellout....." Mark Jacobson Programming Manager UMS Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011 www.ums.org

Maybe it was Jost in Free Jazz where it was first observed in writing that Lester Bowie was a pre-eminent trumpet player in “avant gard jazz” because he could match the colorful variety of timbres and intensities of the saxophonists who followed in the footsteps of Albert Ayler, Ornette Coleman and especially late ‘Trane. Chris Kelsey reflects that insight in Bowie’s biography section at the allmusicguide.com web site (a good overview), as in trumpeter “Bowie was most successful in translating the expressive demands of the music – so well suited to the tonally pliant saxophone…” and, as with David Murray or Eric Dolphy “…Bowie invested his sound with a variety of timbral effects; his work has a more vocal quality, compared with most contemporary trumpeters.” Kelsey then points to two precedents for that sound in jazz, Cootie Williams and Bubber Miley. That’s good as far as it goes. He wasn’t “just” the preeminent trumpeter of the jazz avant-garde from the 1970’s until his death in 1999: He was the preeminent trumpeter/bandleader in jazz. Bowie was a musician through which ran all the musical streams up to that point in history. I mean it wasn’t all about the trumpet. It seems Bowie took the “multi-culti” ideals of Don Cherry and filtered them through the brass band tradition of his own St. Louis family. St. Louis's implications in the history of jazz as played on trumpet fed him. Bowie and Earl Hines both had a show biz side, but rather than the great dance halls Bowie's early examples in bandleading were presented by blues legends Little Milton and Albert King, and that's another kind of show biz all together. Not to mention the mega-commercial nights of sitting next to players such as Blue Mitchell in trumpet sections of working show bands or Vegas big bands, say, helping Red Foxx knock ‘em dead. At the top of the Bowie recorded legacy is “Jazz Death,” “Numbers 1 & 2,” (the entire Art Ensemble collection on Nessa) and the duet album with drummer Philip Wilson, all pure jazz. Yet his reggae standards, R&B and blues favorites from all eras, gospel, African, American and European pop music was a repertoire to "hold" his jazz, his improvisations coming as much through Miles Davis and Don Cherry as Cootie, Bubber or The King himself, Joe Oliver. Bowie was the last of the non-corporate jazz stars, a both popular and challenging voice. His concept was consistently open from his playing on through his repertoire. And for what it is worth his parody was a much-needed antidote to the hubris of the times, something the current era is utterly afraid of developing. And I'm not talking just music: there is no opposition party in America. We need some music for that. Hearing Bowie reminds me there will always be hope for a progressive American future deeply grounded in it's artistic, cultural past. Lazaro Vega